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p S 3507 
•E542 
04 

1914 

Copy I 



"DECEIVERS 



B pla^ in One Bet 



5* 



BY 
WILLIAM C. de MILLE 



Copyright, 1914, by William C. de Mille 



ALL RIGHTS RESERVED 



New York 
SAMUEL FRENCH 

PUBLISHER 

28-30 WEST 38th Street 



London 

SAMUEL FRENCH, Ltd., 

26 Southampton Street 

STRAND 



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OEC 30 19/4 



CI.D 3924 2 



DECEIVERS. 



CHARACTERS. 

Amos Little 

Flora Little 

Phil " The Mink" 

Scene: — .4 Home in the Suburbs. 

Time: — The Present. 

Scene: — A comfortably furnished living room — 
large windows back c. Door to bedroom l. 2 E. 
Door to hall r. 1 E. .4 piano is set diagonally 
in upper left corner. A small stand with 
practical electric lamp up c. in front of windows. 
Lamp is lit at rise. Library tajble R. c. with 
rosy chair on each side— a lighted lamp on the 
table, also a telephone, books, magazines, box of 
cigarettes, ash tray, matches, etc. A small desk 
tvith papers, letters, etc. down L. in front of door. 

At Rise : — Curtain rises on empty stage. The 'phone 
is ringing — Amos enters rather hurriedly from 
r. He is a rather small man of about 35 or 40 — 
perhaps inclined to baldness — He wears a 
smoking jacket — He speaks over his shoulder 
out R. as he enters. 

3 



4 DECEIVERS. 

Amos. All right, dear, I'll answer it — finish your 
desert — (He picks up the 'phone and half sits on the 
table) Hello — Yes, this is Amos Little — Oh, 
that you Harry — Hold the wire — fust a minute — 
(He puts down the 'phone, go.es over to R. door which 
he closes carefully — then comes hack and picks up 
the 'phone again) Hello Harry — what to-night? 
Oh, pshaw — I promised to take my wife to the 
theatre — Five handed? Oh, I'll make six — Yes, 
but Flora — What? — I- think she's getting wise to 
this night work at the office — Oh, well I'll take a 
chance — I promised her to give up Poker — All 
right — sure you can count on me — what is it — all 
Jacks? sure that's the best game — All right I'll be 
there in half an hour — Good-bye. (As he hangs 
up the receiver the door r. opens and Flora enters in 
evening dress) 

Flora. Hurry up dear — You've just got time 
to change your clothes — (Crossing L. to go to bed- 
room) What was the 'phone? 

Amos. The office 

(Flora stops dead and eyes him.) 

Flora. (Sarcastically) Oh— you've got to work 
to-night I suppose. 

Amos. Yes — It's hard luck — I'd been counting 
on taking you to the theatre. 

Flora. (Dryly) H'm — so had I. 

Amos. But business before pleasure — (She eyes 
him intently— he gets uncomfortable) What are 
you looking at me like that for? 

Flora. This is the second time this week you've 
broken a theatre engagement with me. 

Amos. Do you think I enjoy slaving away at the 
office ? 

Flora. Last Saturday, you were at " the office " 
till four o'clock Sunday morning. Tuesday night 



DECEIVERS. 5 

you came home from " the office " at three fifteen — 
This is Thursday 

Amos. (Trying to bluff) Look here, Flora, I 
don't like your tone. 

Flora. This is not the busy season 

Amos. But I've told you — this war 

Flora. (Advancing a step) Amos, where are you 
spending your nights? 

Amos. (Sinking into chair l. of table) Oh, 
Lord ! This is the thanks I get for working my 
li ;mds to the bone for 

Floka. How is it I can't get you on the 'phone 
when you're at " the office ? " 

Amos. The girl's not at the switchboard and 

Floka. (Alert) Where is she then? 

Amos. At home and in bed 

Floka. How do you know? 

Amos. 1 don't know — I 

Floka. Then why — ? 

Amos. Now for heaven's sake don't start that 
again — The idea — being jealous of a poor little 
'phone girl- 



Floka. (Tossing Iter head) H'm 

Amos. Would it make you feel any better to come 
with me? Would yon like to sit in an empty office 
while I work on the books? If so come along. 
(Rising) 

Floka. Of course you'd stay while I was with you. 

Amos. Flora, I'm disappointed in you — You 
don't trust me any more — You're jealous. 

Flora. Why shouldn't I be? You're jealous 
enough of me — there's very little / can do that you 
don't want to know about. 

Amos. (With dignity) That's very different. 

Floka. Well, it's going to be different from now 
on. I'm tired of being left alone night after night — 

Amos. (Losing his temper) Well — what are you 
uoiuii' to do about it? 



DECEIVEKS. 



Flora. You'll see- 



Amos. Is that a threat ? 

Flora. (Facing him) Yes. 

Amos. (With great dignity) Oh, very well. I 
shall change my coat and go to the office — perhaps 
when I return, you'll be yourself. (He go.es out l. 
Flora sits in chair l. of table — The 'phone rings — 
Flora answers it) 

Flora. Yes — This is Mrs. Little — who — ? the 
Detec — wait a minute — Hold the wire — (Goes to 
door l. cautiously, closes it, then returns to th e 'phone 
— speaking in lowered voice) Hello, now — tell me — 
what have you found out? Sh — don't speak so loud 
— I don't want my husband to know I've put a 
detective on him — No — he'd never forgive me — but 
I must know — What ! You can't report over the 
'phone? I see — But I don't know you — I've only 
seen your chief— Oh, yes — (Amos opens door l. — 
the door closes — he enters quietly — hears the follow- 
ing words and stops — then goes up to end of piano 
where he is invisible to her, but in full view of the 
audience — Flora doesn't see him — her back is to- 
ward the l. — She continues) "Well you'd better 
come here to-night — Yes — but be sure my husband 
doesn't see you — Yes, he'll be out — and I'll be 
alone — Yes it's better for you to come at night 
than in the daytime — The neighbors talk so — and 
a strange man coining here^ would make gossip, so 
I'd better always meet you at night — (Amos' face 
has changed from interest to amazement — from 
amazement to fury) Oh, we'll have plenty of time — 
My husband never comes back before two or three 
o'clock — Now listen — when he leaves the house, I'll 
put out the lamp in the back window — Be sure 
you don't come until you see the lamp go out — 
All right — I'll expect you — Good-bye 

(Amos, during the last few words, has gone out 



DECEIVERS. 7 

quietly, a picture of intense rage — Flora hangs 
up the receiver and Amos is heard singing in a 
very forced way — He re-enters l. making con- 
siderable noise.) 

Amos. (Restraining his wrath — and speaking with 
repression) Well, I'm off — What was the 'phone? 

Flora. Oh, nothing — a mistake. 

Amos. Flora, what did you mean when you said 
that you were tired of being left alone night after 
night? 

Flora. Never mind what I meant. 

Amos. But I do mind 

Flora. All right — mind then — Good night. 
(She exits l.) 

(Amos goes over to door r. — goes out — a door slams 
outside — Tie re-enters at once — cautiously goes 
up and conceals himself behind the piano — He 
can appear at either end of the piano and be 
seen by the audience. Flora enters cautiously, 
looks down hall r. — then puts out light up c. — 
stage lights do not go down — She exits L. — 
Amos comes from behind upper end of piano — 
goes back to window and tries to see out — sees 
something and conceals himself again — Phil, 
the Mink, appears outside windows. He uses 
a Jimmy to open the window softly and enters — 
goes to door l. — listens — then to door r. — then 
he examines dm ice rs of desk L. He is a young, 
well set up chap, and doesn't look like a burglar — 
He is dressed in good business clothes — He 
makes himself at home — takes a cigarette from 
box on table and lights it — Amos watching him 
from behind piano — Flora enters — He hears 
her and turns — His hand goes to his pocket — 
He speaks quickly.) 



DECEIVERS. 



Phil. Don't make a noise- 



Floka. (Advancing) Oh, it's all right, my hus- 
band has gone 

Phil. (Surprised) Oh — has he indeed? 

Flora. I hope he didn't see you come in. 

Phil. I hope he didn't. 

Flora. Of course, I expected you — but my maid 
didn't tell me you had come — Did you 'phone from 
the drug store? 

Phil. Er — Yes — (Phil follows ever;/ move 
she makes ivith his eyes) 

Flora. (^Coming down and facing him) Well — 

Phil. Well 

Flora. We'd better not delay — You must be 
gone when my husband returns. 

Phil. That suits me perfectly. 

Flora. Won't you sit down? 

Phil. Thank you — (He waits for her to sit — 
She sits r. of table — he l.) 

Flora. I'm afraid I'm rather embarrassed — 
You see I've never done anything like this before. 

Phil. (Taking the cue) Of course not — but now 
that you have begun 

Flora. Oh. I shall see it through — My hus- 
band's conduct has made this necessary. 

Phil. Oh — yes — yes absolutely. 

Flora. I feel sure that he is deceiving roe- 
otherwise I would never have asked you to — you 
understand. 

Phil. I don't blame you a bit — Excuse me — 
May I see your hand a moment — (Rises and stands 
in front of table, leaning against it) 

Flora. My hand? Why what 

Phil. Just a moment — I'll show you — (He takes 
her hand and looks at it intently) Ah, these arc 
very beautiful rings 

Flora. (Starting to draw away her hand) Yes 
—but 



DECEIVERS. 9 

Phil. (Holding the hand) Oh, it's a beautiful 
hand too 



Flora. Really I 

Phil. You know — I can see by your hand that I 
am going to acquire sudden wealth — (Starting to 
take off her rings) Allow me 

Flora. (Pulling her hand but not releasing it) 
Look here — what do you mean ? Let go my hand 

Phil. A mere trifle I know — but they will re- 
mind me of you — please don't struggle. 

Flora. Oh, oh. I see — You're not the man I 
thought yon were — you're a 

Phil. Don't scream — (He puts his hand over her 
mouth, holding Iter other hand — the struggle looks 
like an embrace — at this moment Amos confronts 
them a pistol in his hand) 

Amos. (Covering them with his pistol) So — 
This is what you meant 

(Phil turns — sees he is covered and puts up his 
hands — : Flora rushes to Amos.) 

Flora. Oh. Amos — Amos — protect me. 

Amos. (Casting her off) Protect you — LTa ! 
This is a nice time to ask protection from me — (To 
Pirn,, who 'starts to lower his hands) Keep your 
hands up. 

Flora. I'll 'phone for the police. 

A mos. Why ? 

Flora. To turn him over — he's a burglar 

Amos. Ha — The old story — I wonder how 
many trusting husbands have been fooled by it 

Flora. But I tell you 

Amos. Oh, you act it well — if I didn't know better 
I'd believe you even now — But I heard you making 
the appointment with him over the 'phone — I heard 
ymi tell him to wait till your husband was out — 1 
saw you meet him — heard you tell him he had to be 



10 DECEIVERS. 

gone when your husband returned and finally found 
you in his arms — Is that the way one receives a 
burglar ? 

Flora. But — but — I (She is speechless) 

Amos. If you didn't expect this man — whom did 
you expect? 

Flora. No one — that is — Oh, I won't be ques- 
tioned like this — it's absurd — (Starts to leave) 

Amos. Stay here — (She stops — To Phil) 
Now — what have you got to say for yourself? 

Phil. Not a word — I'm in the hands of Provi- 
dence. 

Amos. I suppose you don't claim to be a burglar? 

Phil. (Airily) No, no, I make no claims what- 
ever — There's evidently been a mistake made, so 
I'd better — (Starts to go) 

Amos. Stop — (He keeps Phil covered with the 
pistol ) 

Phil. Just as you like — Do you mind if I put 
my hands down ? 

Amos. No— but don't make any quick move- 
ments. 

(Phil puts his hands doivn.) 

Flora. Amos, can't you trust me? 
Amos. Do you think I'm a fool ? 
Phil. You don't have to answer that if you don't 
want to 



Amos. (To Phil) Now, I am going to have the 
truth from you. How long have you been her lover ? 

Phil. Now look here, old man, that's not a fair 
question. 

Flora. Amos I — (To Phil) Why don't you 
explain — Tell him you're a burglar 

Amos. Do you think I'd believe him — now? 

Phil. (To Flora) You see he wouldn't be- 



DECEIVERS. 11 

]ieve me — Of course, I'd like to do anything I 
could — but 

Amos. I suppose I ought to kill you in your tracks. 

Phil. (Conciliatingly) Well, I don't know 
about that — In my opinion, you'd be making a 
great mistake. 

Amos. (Dryly) Oh, you think so, eh? 

Phil. Yes, yes, I'm sure of it — What good 
won Id it do? 

Amos. (Between his teeth) Wipe out the dis- 
honor of my home. 

Floe a. Amos, you're making a complete fool of 
Yourself. 

Phil. (Soothingly) Well, he's excited just now — 
He'll be all right in a few minutes. 

Amos. You can't get away with this and you can't 
bluff me — I must know how long this has been going 
on — If vou'll confess— I may let you go alive — 
after all, if I killed you, it would only make scandal. 

Phil. Absolutely — It would be the worst thing 
in the world for all of us. 

Flora. (To Phil) Look here. Sir, I don't know 
your name, but you seem like a gentleman, tho you 
are a burglar. 

Amos. Yes — I've noticed that too, a little strange 
isn't it? 

Phil. Oh, not in these days. 

Flora. (To Phil) Then I appeal to you as a 
gentleman — Don't vou see the position you put me 
in by your silence? 

Phil. Yes, it is extremely awkward. 

Amos. Yes, extremely awkward. 

Flora. Then why won't you confess that you're 
a burglar, I'll see that no harm comes to you. 

Amos. Oh, no you won't — (To Phil) If you 
stick to this burglar story of hers, you go to jail — 
understand ? 



12 DECEIVERS. 

Phil. (To Floiu— shrugging his shoulders) 
You see? 

Amos. Come — come — Choose — Tell me all 
that's passed between you and her, or I turn you 
over to the police. 

Phil. And if T tell von what you want me to — 
I'll get my head blown off — is that it? 

Amos. No — I'll give you your life — hut I must 
know the truth. 

Flora. Oh, you idiot — How eaii he confess what 
isn't so? 

Amos. (To Flora) He doesn't need any prompt- 
ing from yon. (To Phil) Will you confess, or 
shall I— (Readies for 'phone) 

Phil. (To Flora) I'm afraid it's no nse — I 
should like to protect vour good name— hut after all, 
he saw us didn't he? So we may as well own up- 

Flora. We — well of all the — Why I never saw 
you before . 

Amos. (To Flora) You keep still — I'm getting 
the truth at last. 

Flora. But I — Oh — (Sits in utter desperation) 

Amos. (To Phil) Go on. 

Phil. There's nothing more to be said — I admit 
we love each other 

Flora. Oh — You — You wretch — You 
miserable liar 

Phil. Of course, she doesn't seem to love me 
much at this moment — but — well — you know how 
women change 

Amos. (Letting his It end sink)- Yes — I know — I 
— T loved her myself — once. 

Phil. (Very sympathetically) It's cruel, isn" 
it? I make no, excuses — only — don't be too hard 01 
her — You know men and women can't always con- 
trol their hearts 

Amos. (His rage changed into grief) I know — 

Flora. Oh! You — you cowardly thief. (To 
Auos) This has gone quite far enough — If yon 
want to believe this man's lies — do so — but I'm going 
to call the police — (Benches for 'phone) 



DECEIVERS. 13 

Phil. Stop her, man — (Amos does so) If she 
tells the police this absurd story about my being a 
burglar — I shall have to let the whole world know 
the truth. 

Amos. Yes — you're right — (Taking the 'phone 
from Flora) Put that down — This is terrible 
enough without making it public. 

Flora. But, Amos, his pretending to be my lover 
proves that he is a burglar — can't you see ? 

Amos. No, I can't. 

Phil. Gently, brother; the lady's point is well 
taken — You see if I really were her lover, I would 
admit being a burglar and go to jail to save her. On 
the other hand, if I really were a burglar, I would 
admit beinff her lover and save myself — It's very 
perplexing : I don't blame you a bit for being puzzled. 

Flora. There, Amos, he admits that he is a 
burglar. 

Phil. Oh, no, I don't. You were entirely too 
eager to give me to the police — The minute Ave 
were caught your one thought was to save yourself. 
You would have had me languish in a dungeon cell, 
while you went free. In that moment, you killed in 
me every spark of love — You wouldn't lift your 
hand to save me, so why should I save you? 

Flora. Oh, I give it up — believe what you please 
Amos, I won't deny anything — (Sits again) 

Amos. (To Phil) Go on — tell me the rest. 

Phil. Say, look here, old man, why make me tell 
all the painful details? I've told you what you 
wanted — now let me go and I'll try to forget her. 
(Starts to go.) 

Amos. (With pistol) Stop! (Phil stops) The 
story doesn't end here — If I spare your wretched 
life, you've got to do the square thing by her — 
After the — the divorce, you must marry her. 

Flora. What! 

Phil. I shall be delighted. 



14 DECEIVERS. 

Amos. I have vour word ? 

Phil. If she wishes it — Yes. 

Amos. (Pointing to door r.) Then go — 
(Poclcets his pistol) 

Phil. Thank you — (Starts to go — Flora gets be- 
tiveen him and the door) 

Flora. Stop — You — you can't leave me in this 
false position. If you go like this, he'll always be- 
lieve — what he does now — (To Amos) I can't stand 
this, Amos, the man you heard me 'phoning to was a 
detective — I've had you shadowed — to find out the 
truth. The detective was to come here to-night — 
when I found this man in the room I thought it was 
the detective. There — now you know the truth — 
(To Phil) Oh, please, please, have the decency to 
save my reputation 

Phil. (Covering Amos with a pistol which he 
takes from Ids pocket) Certainly, I never could 
resist beauty in distress — Keep quiet brother and 
don't make any sudden motions — The lady is per- 
fectly right — I am a burglar. 

Amos. (Turning to Flora) And you put a 
detective on me, eh ? You treated your own husband 
as if he were a criminal. 

Flora. (Going to him) Forgive me, Amos, I 
was mad with jealousy — I didn't believe you spent 
the nights working at the office. 

Amos. And you are the woman who swore to love 
and honor me — You suspect me of lying to you — 
of deceiving you — when I am sitting night after night 
over my desk, working to give you comforts — work- 
ing until my eyes close with fatigue and I sleep in 
my chair — working until — ('Phone rings) 

Phil. Don't move please — (Keeping them covered 
with tin' pixlol lie answers the 'phone from chair r. 
of table) Oh— Hello— Yes this is Mr. Little's 
house. Mr. Little can't come just now — I'll take the 
message — Oh, it's all right — I'm an intimate friend 



DECEIVERS. 15 

— I see — Yes — Yes, all right I'll tell him — 
Good-bye. (Hangs up and turns to Amos) Mr. 
Jack Evans says you are to hurry up and that Billy 
just held four aces. 

Flora. (Recoiling from Amos) Jack Evans! 
Four aces — So that's the way you work your fingers 
to the bone to give me comforts. 

Amos. But my dear 

Flora. Bah — Don't speak to me — (Starts to 

go) 

Phil. One moment — (Keeping them both covered 
with the pistol) Kindly stand perfectly still — both 
of you — I'm glad I came to-night — You two people 
really love each other, but you are both absurdly 
jealous and each of you has been deceiving the 
other — (Going to Flora) Your rings, please. 

Flora. But 

Phil. Please. (Under compulsion from the 
pistol, she gives them to him) My dear children, 
love never thrives on deceit. Trust each other and 
you will be happy. Now the necklace — (He gets it 
and turns to Amos) You see, honesty is the best 
policy — (While talking he goes through Amos's 
pockets, taking pistol, watch, pin, pocketbook, foun- 
tain pen, knife, loose change, etc.) You must have 
faith in each other. Let him play a game of poker 
occasionally. If he had played to-night he'd have 
lost less than he's losing now. (To Amos) But 
don't tell her you're working at the office — That's 
not honest — it's not fair to her — and Oh! — it's so 
old ! That's all you've got to remember — Honesty 
— it's the thing that makes life worth living — An 
honest man fears nothing — he can look the world in 
the eyes — I'm going to leave you now — (He takes 
the 'phone and jerks it loose, leaving it on the table. 
A ring is heard at the door bell n.) There's your 
detective — If you will both wait in here, I'll let 
him in — But I'm sure you won't need him now. 



16 DECEIVERS. 

In here please — (He puts them out l.) I'll send him 
right in here — He can let you out — and remember 
— Honesty — (He closes and lochs the door l., leaves 
key on table. Ring repeated at bell r. He takes 
another cigarettte from fable, lights it — Amos bangs 
on door l. Phil calls to him ) Tell the detective the 
key is on the table — Good-night 

(Banging continues L. Hinging repeated R. Phil 
exits jauntily r.) 

CTJBTAIN. 



I I//l/////////////////mLf 0NG ' ? ESS 



015 JPgHH, 



DEC 30 1914 



LIBRARY OF CONGRESS 



015 906 579 



